As part of my completion in the Masters of Fine Arts Graduate Program, this report has been read and approved before attaining a Masters of Fine Arts Degree.
JUSTICE
Steel, enamel pin-stripper’s paint. Braided steel cord.
January 2026
Live & Work artist-in-residence at Charles Adams Studio Project, Lubbock, TX.
January 2025-April 2026
As part of my CASP (Charles Adams Studio Project) AIR (Artist in Residence) I built a small metals shop and gradually added tools for woodworking. Thus allowing me to become a self-sustaining artist.
I used the space in Studio #3 and the shop I built to create my sculptures and conduct my research.
The artwork developed the concept of “the human-animal-past & present”. Sculptures became larger, numerous, and more complex. Wood was added to the hammered and welded steel sculptures to accentuate pivotal points in the design.
Each one- one-of-a-kind.
Each one meant to tell a story.
History’s past mixed with my present-day narrative, creating a new lexicon of hybrid beasts and their surroundings.
My work was available to see at the Lubbock First Friday Art Trail in its varied stages of development. Each month, I displayed new works and works in progress. During this event, I made myself available to the art community for their questions and comments about the work.
EQUALITY.
Steel, Purple Heart Wood.
2024
COURAGE
Cross-Pollination.
Steel, Wingay Wood.
November 2025-26
TRANSCEND
Cross-Pollination
Steel, enamel pin-stripper’s paint.
2025
GIFT
Materials: Enamel paint, steel
Dimensions: 4’x3’x2’
2023
Forbidden KNOWLEDGE
Materials: steel, enamel paint
Size (in feet): Height 4’, Length 3’, Width 2.5’
2022
HONOR & DUTY
Materials: steel, enamel paint
Size (in feet): Height 4.5’, Width 3.5’, Length 3’
2022
Materials: Etched Copper, plywood, servos, steel sheet, pink plexiglass.
2.5’x1.5’x6”
2025
Materials: Watercolor on cold-pressed paper, resin, acrylic sheet, found fence posts, servo hardware, arduino software.
Size(in feet): Height 2.5’ Length1.5’, Width .75’
2021
HOME
Materials: wood, steel, paint.
Size(in feet): Height 12’, Length 6’, Width 3.5’
2019
BRAVERY
LOVE
Materials: Enamel paint on Steel
Size (in feet): Height 2.5’, Length 2’, Width 2’
2023
Materials: Steel, Canvas, Gold Leaf, Acrylic Paint, Enamel paint.
Size (in feet): Height 2.5’, Length 2’, Width 1.5’.
2022
With this necklace, I speak to my experiences bicycling. The rubber of the inner tubes, not a material thought of as female, but I make them into ruffles and fringe. Inner-tubes certainly not to be worn around someone’s neck. The title is For all those times my face hit the pavement while looking at the sun through the trees, how very un-ladylike. I am once again giving a female voice to materials that are thought of as masculine. Thus, I feminize them, in my labor. And as I think of myself bicycling, I also am made to think of the first feminists, who also saw the bicycle as a newfound freedom for women, so that they may leave their kitchens and babes. An idea that was met with resistance.
Bicycles were considered masculine, up until the 1890s because they could not be ridden side-saddle, thus may ruin a woman’s virtue. In 1896, women adopted them as their own, as the bicycle gave them new freedom of movement, and also allowed them to wear less restrictive clothing that aided in that movement, this was not without it many male critiques.
From the beginning, bicycles have been associated with feminism. The Suffragettes also associated the freedom that came to women through bicycling, as being the catalyst that allotted women’s suffrage to be successful.
Materials:
Bicycle Inner-tubes, Fold Formed Brass, Brass 22G wire, Brass 14G wire jump-rings & Closure, Forged Steel Display
Modeled by: Carolina Alamilla
2018
Solo Exhibition, August First Friday Art Trail, 5&J Gallery Charles Adams Studio Project (CASP).
2023
ARTIST STATEMENT:
A Sculpture is a Visual Poem. A flickering feeling, a fleeting moment, met with an omnipresent tension. An uneasiness sets into my stomach, and I create. Cut, hammered, forged, welded, and painted steel fabricating my material, just as I fabricate the fiction. Creating a new lexicon made up of a synthesis of wild animals and domestic objects of an American household.
The animals are caught in human habitats. Their features echoed in the furniture they are tethered to. These animals serve as metaphors for human characteristics and depict how strange the human animal is. Our comfort creates the confines within which we live. The biggest barrier being within our minds. Under every roof, every situation exists, the light, the dark, the good, the bad. We choose how we live our lives.
Materials: Acrylic on Canvas
2023
Wood Sample Box.
2023
Choosen by a committee for the Public Artwork to display in Palestine, Texas as part of the Art Tracks Sculpture Tour 2024.
https://www.visitpalestine.com/business/art-tracks-sculpture-tour
Materials: 3D print cast in bronze, pink plexiglass, Purple Heart wood, cherry wood, plexiglass mirror, 18g brass sheet
Dimensions: 61”height, 17”wide, 14”long
2024
I use metal fabrication and casting to create installation's made of steel and other materials.
Solo Exhibition
May 2019, First Friday Art Trail, Satellite Gallery, Lubbock, TX
Do you really want to live on Mars? is an oil slick installation in which I speak of how our efforts to mine our earth’s natural resources have carelessly terraformed this world, creating a hybrid landscape that is an amalgamation of toxic gasses, plastic parts, and chemical waste, all oozing over the natural resources that we, and all other life on this planet, depend on. I used synthetic materials, and a mold making processes to speak of the repetition and byproducts that are common in many commercial processes. There are pustules, oozing out brightly colored goo, and the landscape is painted black, branches and twigs protruding from the surface to create a natural landscape that has been transmogrified to something new, unrecognizable, and undesirable. 3D printed, mutant snails crawl across the surface, their homes on their backs, a suggestion of the need for a massive migration when there are not enough natural resources to sustain humanity.
Materials:
polycarbonate body filler, spray foam, black spray paint, fallen sticks, silicon, acrylic paint, pencil rod, chicken wire, 3d prints, hot glue, black duct tape, silver yarn
installation
2019
In the series the baggage we carry, I explore the idea that a sculpture is a visual poem. Cast bronze handles on each of these sculptures, dictates that they are to be carried, awkwardly, as the narrative elements protrude and create imbalance. These elements combine to speak of the burden that can come with memory, and how, perhaps we should just set these things aside, focus on the larger scope of things, and move on with our lives. Ideas may come from my personal experiences with life, however, the concepts are broad enough to reach a larger demographic.
In You can’t see the wind blow, but you will feel it when I go, I talk about leaving a relationship, and the loss of love, an all too common subject in poetry and songs. The suitcase is an open heart-shaped box, the edge burned with a torch to symbolize the scorn of a past lover. Cast bronze dear skull, the death of something innocent, as doe are not predatory creatures, but graceful beasts that spend their days grazing on the open plains. Antlers are made to look like branches with leaves that dangle and move, as though they are blowing in the wind. This is to symbolize change, and growth, for in every ending there is a new beginning.
1. Spaghetti western, together we ride off into the sunset
2. tell me the things about you, that I can’t read about on the internet
3. you can’t see the wind blow, but you will feel it when I go
Materials:
cast bronze, copper wire, 22g copper sheet, etched brass, plasma-cut steel, forged steel
2018-2019
Leave a light on for me is about going on a journey and returning home. The people you missed when you were away, and being reunited with those you love.
Materials: 12g steel, polycarbonate body filler, cast aluminum, castor, acrylic sheet, copper sheet, copper wire, light bulb, and hardware.
Dimensions: 1’x8”x1’
Visual Poems, Solo Exhibition, South PlaIns College Fine Arts Main Gallery, Curated by Kristy Kristinek, Levelland TX, March-April.
2023
ARTIST STATEMENT:
A Sculpture is a Visual Poem. A flickering feeling, a fleeting moment, met with an omnipresent tension. An uneasiness sets into my stomach, and I create. Cut, hammered, forged, welded, and painted steel fabricating my material, just as I fabricate the fiction. Creating a new lexicon made up of a synthesis of wild animals and domestic objects of an American household.
The animals are caught in human habitats. Their features echoed in the furniture they are tethered to. These animals serve as metaphors for human characteristics and depict how strange the human animal is. Our comfort creates the confines within which we live. The biggest barrier being within our minds. Under every roof, every situation exists, the light, the dark, the good, the bad. We choose how we live our lives.
LABOR OF LOVE
June & July 2024
Solo Exhibition and taught a “carve your own Styrofoam sculpture” workshop at East Lubbock Art House.
experiments & maquettes
each smaller than 1 cubic foot
2019-2020
Something as simple as a pink flamingo adorning someone’s lawn in a dry desert climate devoid of marsh not only speaks to the person’s psychological need to connect with a landscape that is not their present but a suspension of disbelief in thinking that such creatures would want to live on this person’s lawn. These plastic pink birds are kitsch, and it is precisely this reason that I like to think of them as an unofficial mascot of Las Vegas, a thriving metropolis that was built in an area that did not even have a natural water source before the Hoover Dams creation.
Materials:
Cast Aluminum, Forged Steel, Casting Plastic, Paint, Pigment
Size (in Feet): Height 5.5’, Length 4’, Width 2’.
2018
I know they say you reap what you sow, but I can’t change the world so we may as well watch the grass grow
People have a need for food, love, and a place to call home yet we built machines to conquer. Whether it is a machine that mines, a machine that kills, or a machine built to store information, humanities machines are built to harness, and capture the natural world that surrounds us for our advantage.
Driving across the vast West Texas landscape, across the great plains one sees pump jacks pumping back and forth.
I know they say you reap what you sow, but I can’t change the world, so we might as well watch the grass grow, I speak of how we carelessly pull nonrenewable resources from the earth despite our knowledge of the unsustainability of this process. Little to nothing has been done by us in the United States to change this process in favor of something more sustainable. To watch the world continue to roll around on these crude wheels of generations past is frustrating.
The infrastructure of this resource is fragile always moving from place to place. The oil industry leaves detritus and rusted old machines strewn across the vast landscape.
This is an abstraction of a pump jack materials of steel and aluminum are used to build this sculpture just as they are in the actual machine. I cut patterns of flowers and leaves, forged roses and branches are connected to this sculpture, not only to demonstrate that which we are taking from in our continued practice of mining for oil but to symbolize my female take on an industry that is historically thought of as male. In this, there is a rebellious feminine act, as it takes great labor to create with this ridged material something more organic. These materials are misbehaving; they are not acting like the ridged industrial material we have come to expect, and in that there is rebellion.
Materials:
16g steel, pencil rod, forged steel rod, cast aluminum, 2” square steel tubing, plastic-wrapped steel cable, paste wax,
2019
Materials: resin, pigment, silicone, steel, plexiglass, epoxy.
Height 3’6”, Length 2’, Width 1’ 8”
2023
A metaphysical self portrait, in which I am documenting my existence in space & time
Plasma-cut 12 steel, hand-made pencil rod chain, light, extension chord, recovered bellhop cart, paste wax. canvas, custom built stretcher, acrylic paint, silver leaf, video
2020
We all dream of falling to remind us that everything in life changes and evolves.
Size (in feet): Height 4’, Length 3.5’, Width 2’
2021
Purple Heart, hard maple, cherry, cast bronze, pink plexiglass.
5’6”x2’x1’6”
2024
Forged Steel, 2x4, Split Logs, Wood Chips,, Acrylic Paint
2016
In this visual poem, I illustrate a small storyline, the setting a plank of wood, the subject, the cast objects, and the action is in the forged roots that bind it all together.
Materials:
Cast 3D prints in Aluminum & Bronze, Laminated Purple Heart & Cedar, Forged Steel, Prismacolor Pencils
2017
Tabel
Specimen's- educational wood Sample container
File Box
Platform for 3D printer
Detail of Platform
Cabinet Collaboration with Justin Mowray Tattoo
Interior detail of cabinet
Shelves in 3D print lab
Vacuum Accessories
Cabinet for 3D Print Lab
4 identical Bookshelves
Pedestals for Ceramics Symposium- each built to hold over 550lbs of breakable ceramic
The Dodo bird is an Americana representation of the detritus that is left in the wake of capitalism. A creature found on the New World shores by the first pilgrims. Thought too stupid, and too slow for survival. No longer. Gone by the powers of man. (I am sure you noticed the rather phallic beak). In our quest to conquer, we erase. Why save that which has no measurable intellect nor foreseeable function. Manifest Destiny for the new omnipotent, technologically, savvy free world. Where do we go from here…
So the Dodo bird is extinct & new technology will help the human the beast..…or are we just spinning our wheels, on the path to nowhere?
Materials:
polycarbonate body filler, copper wire of various gauges, 20g brass, brazing rod, plastic flowers, spray foam, PVC fabric, programmed Arduino, servo, acrylic paint, liver of sulfur, glitter vinyl, silicon, sequins, glitter, birchwood
2020
Materials:
polycarbonate body filler, copper wire of various gauges, 20g brass, brazing rod, plastic flowers, spray foam, PVC fabric, programmed Arduino, servo, acrylic paint, liver of sulfur, glitter vinyl, silicon, sequins, glitter, birchwood
2021
In our world, the most sustainable systems are circular ones. If we are to continue residing on this planet, perhaps humanity should adopt similar circular systems. An example of such a system is in the wind turbines one sees as they travel eastward atop the rolling hills of Texas. Stretching far above any other man-made structure, an effort to harness the wind. The wind is a force frequently felt, but rarely seen. In our intention to harness the wind there is more authenticity, for, with each breath we take, we also capture a fragment of energy from the wind as we convert oxygen to carbon dioxide. In this way, the wind turbines mimic our bodies, and systems found in nature. In our replication of natural processes, there is sustainability and interconnectedness with machines and the world around us. In our interconnection to all things there is beauty, and why not choose to have more beauty in the world.
Towering at nearly 16’ Inside the spaces between breaths is an asymmetrical wind turbine meant to visually capture the chaos in the wind and in our every breath. Tangles of flowers and twisting of steel rod interlocked within structural elements speak to our connection to this planet as the configurations look like the double helixes in our DNA. Elements clustered on top of crude wheels, an homage to our first machines. These wheels demonstrate not only our human need to be able to conquer even the wildest entities present in our world but how people have traveled to the farthest reaches of our planet to obtain resources deemed valuable.
Materials:
12g steel, 2” steel tubing, forged steel roses, cast aluminum, plastic-coated steel wire, patina.
2019
wash it all away
copper, liver of sulfur, cast soap, performance
2019
Materials: Turned and Carved Basswood, RIT dye, Plaster, Copper tubing, glass beads
Year: Fall 2015
3D prints, polycarbonate body filler, Hemp String
2017
Cast Aluminum, Forged Steel, Paste Wax
2018
“Taking Up Space”, Installation Exhibition, Texas Tech University, School of Art, Lubbock, TX
Cast 3D Prints, Steel Armature, Newspaper, Bondo, Blue Flocking, Texturized Rock Paint, Painted Astro-Turf
2018
Materials:
Forged Steel, Fold formed steel, Casting Plastic, Blue Pigment
2017
Medium: Laminated 2x4, Square Steel Tubing, Cast 3D Prints, Astro Turf, Bondo, Spray Paint
Year: Fall 2017
16g Steel, 20g Brass, 16g Copper Wire, Wingay Wood, Paste Wax, Microscrews
2018
Materials:
cast aluminum, forged steel, resin, light, 3d prints, paste wax
2018
Stuff I made today ($#%& Show), 6th and 7th iteration of time constructed artwork, Charles Adam Studio Project 5&J Gallery, Curated by Hannah Dean and Christina Rees, Lubbock, TX, January.
Mums Texas HS 2026
The Weather 2025
CAT vs. DOG 2024
I can’t tell a lie 2022
collaboration with artists Jessica Lambert and Daniel Demitri 2023
Undergraduate Work
1. Domestic Death and Matrimony
2. Cloud Process
3. Exploding Typewriter
2016
